{"id":7213,"date":"2019-05-02T13:53:12","date_gmt":"2019-05-02T11:53:12","guid":{"rendered":"http:\/\/www.dresden-magazin.com\/?p=7213"},"modified":"2020-10-20T16:41:15","modified_gmt":"2020-10-20T14:41:15","slug":"buergerbuehne","status":"publish","type":"post","link":"https:\/\/dresden-magazin.com\/en\/culture\/buergerbuehne\/","title":{"rendered":"They all speak for themselves"},"content":{"rendered":"\n

In an interview with a reporter from the Dresdner Morgenpost, a delighted Wilfried Schulz (at that time, administrator of the Dresden State Theater) said he had pulled off a \u201cveritable theatrical coup\u201d. That was in 2009, and Schulz had just persuaded the gifted director Miriam Tscholl to come to Dresden. She had been asked to establish a \u2018civic\u2019 theater company \u2013 a public stage. Amateur theater in the middle of a new concept in 2009. A group going by the name of Rimini Protokoll Volker L\u00f6sch was already integrating amateur choirs into his productions. <\/p>\n\n\n\n

\"\"
Miriam Tscholl has established the B\u00fcrgerb\u00fchne as one of the supporting pillars of Staatsschauspiel Dresden. \u00a9 Sebastian Hoppe<\/figcaption><\/figure>\n\n\n\n

But no other city went as far as Dresden, where the \u2018B\u00fcrgerb\u00fchne\u2019 was given own slot on the program of the Stadttheater. These meant they had the same number of support staff and the same budget as their professional colleagues. The productions were billed as part of the regular repertoire.<\/p>\n\n\n\n

The experiment was an instant success. In the interview, Schulz puts his finger on the reason why: Miriam Tscholl\u2019s \u201cincredible energy\u201d. Today, ten years later, Tscholl\u2019s B\u00fcrgerb\u00fchne is considered a model of success. Last September, it was awarded the Commerzbank Foundation\u2019s Future Good Prize worth 50,000 euros.<\/p>\n\n\n\n

Anyone wishing to visit the 44-year-old at work has passed through a maze of corridors and staircases to the furthest corner of the Little House, the second of the two state theater stages. \u201cNobody bothers you here,\u201d she says. The office is in the middle of the floor, a bookcase and white walls almost devoid of decoration. On one of the walls a few stage photos. \u201cOur shortlist, but there\u2019s more to come.\u201d<\/p>\n\n\n\n

Tscholl is busy selecting productions for the 4th European Civic Theater Festival. In the months leading up to the event, she is making a lot of phone calls and traveling around Europe to gain an overall impression. Most amateur theater groups are part of the independent scene, and are not listed anywhere \u201cI\u2019m more or less doing primary research; there is a lot going on all around Europe at the moment in the field of participatory theater, \u201cshe says in this vivacious way she has when she is waxing lyrical about something.<\/p>\n\n\n\n

\"\"
Doris Uhlich\u2019s performance “Every Body Electric” is invited to the festival “Our Stage”. \u00a9 Theresa Rauter<\/figcaption><\/figure>\n\n\n\n

The basic idea of \u200b\u200bthe Dresdner B\u00fcrgerb\u00fchne is that a director works with local community associations to sketch out a play on a theme that has relevance to ordinary people. That might be poverty or love, aging or immigration. Casting takes place in workshops; the lines the performers want to speak emerge from interviews the staging evolves from improvisation.<\/p>\n\n\n\n

\u201cI\u2019m always afraid that things will go wrong,\u201d says Tscholl. Because the process begins without a script already in place. Because the actors need the absolute basics of how theater works explained to them. Because the rehearsals take twice as long as usual, which is exhausting. But she is in no doubt that it is all worth the effort. \u201cThe issue of who speaks on behalf of who is becoming increasingly relevant to our society.\u201d In the public stage, everyone speaks for him or herself. And in the end, there are many different answers and opinions.<\/p>\n\n\n\n

\u201cThe Citizens Stage is a Plea for the Difference, for Participation.\u201d Tscholl breaks off for a moment, does a search on her computer and reads out: \u201cEveryone has the right to participate in the cultural life of the community \u2026 \u2018<\/p>\n\n\n\n

Miriam Tscholl grew up in the Black Forest, \u201cin a 6,000-soul village\u201d. Every two weeks, there was a cultural event: \u201cI just could not wait for it to come round\u201d. The idea that she might make one day work in the theater was unimaginable. She went to university to study architecture but then dropped out to enroll in Applied Theater Studies in Hildesheim.<\/p>\n\n\n\n

\"\"
Scene from “Bilder ohne Lila”. The play by director Adrian Figueroa is described as a “cartography of perception”. \u00a9 Sebastian Hoppe<\/figcaption><\/figure>\n\n\n\n

Later that evening, she is sitting in a rehearsal of Pictures without Purple, with a play, with and about the visually impaired. There are two weeks to go to the premiere. It wants to be one of the last productions under tenure; in the summer of 2019, the director Tobias Rausch wants to be taking over.<\/p>\n\n\n\n

\u201cAnything is going disastrously wrong,\u201d says director Adrian Figueroa. Tscholl is meanwhile concentrating intensely, laughing loud at the funny bits. And there are indeed plenty of comical passages, even though the characters are talking about what it\u2019s like when your own daughter goes blind, or about the problems that arise when you can barely see the other person on a literal \u2018blind date\u2019. The characters seem strong and confident.<\/p>\n\n\n\n

\"\"
F.l.t.r.: Miriam Tscholl next to her successor Tobias Rausch and Joachim Klement, managing director of Staatsschauspiel Dresden. \u00a9 Sebastian Hoppe<\/figcaption><\/figure>\n\n\n\n

In our earlier conversation, Miriam Tscholl had said that working with lay performers is more difficult than working with professionals. That amateurs were unable to play out of character. \u201cThat\u2019s why I cannot dictate to them; everything has to come from within the players themselves.\u201d That is the limitation of the amateur dramatics.<\/p>\n\n\n\n

However, one other limitation is absent \u2013 what Scholl calls the \u2018as-if\u2019 factor. What the audience sees being played out on stage are identities, appearances and truths, as is always the case in the theatre. But here, the audience knows that the script encompasses the real experiences of the actors. \u201cThis creates a certain vibe, a special intimacy,\u201d says Tscholl. Because the actors on the stage and the audience watching them are essentially the same people: ordinary members of the public.<\/p>\n\n\n\n

Under the artistic direction of Miriam Tscholl \u201cOur <\/strong>Stage \u2013 4th European Citizens\u2019 Festival\u201d<\/strong><\/a> wants to feature some of the finest amateur productions from all over Europe. Dates: 18\/05\/19 \u2013 25\/05\/19<\/p>\n\n\n\n

Festival Center:<\/strong> Small house Glacisstra\u00dfe 28, 01099 Dresden<\/p>\n\n\n\n

Venues:<\/strong> Small House 1, 3, Mitte Glacisstra\u00dfe 28, 01099 Dresden; Schauspielhaus, Theaterstrasse 2, 01067 Dresden; HELLERAU \u2013 European Center for the Arts Karl-Liebknecht-Stra\u00dfe 56, 01109 Dresden; Societaetstheater, at the Dreik\u00f6nigskirche 1A, 01097 Dresden; Residenzschloss, Taschenberg 2, 01067 Dresden; Probeb\u00fchne Post, K\u00f6nigsbr\u00fccker Stra\u00dfe 21-29, 01099<\/p>\n","protected":false},"excerpt":{"rendered":"

For the past ten years, Miriam Tscholl has been the director of Dresden B\u00fcrgerb\u00fchne, the amateur theatre company of Staatsschauspiel Dresden.<\/p>\n","protected":false},"author":15,"featured_media":7048,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false,"_links_to":"","_links_to_target":""},"categories":[7],"tags":[],"class_list":["post-7213","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-culture"],"acf":[],"yoast_head":"\nThey all speak for themselves - Dresden Magazin<\/title>\n<meta name=\"description\" content=\"For the past ten years, Miriam Tscholl has been the director of Dresden B\u00fcrgerb\u00fchne, the amateur theatre company of Staatsschauspiel Dresden.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/dresden-magazin.com\/en\/culture\/buergerbuehne\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"They all speak for themselves\" \/>\n<meta property=\"og:description\" content=\"For the past ten years, Miriam Tscholl has been the director of Dresden B\u00fcrgerb\u00fchne, the amateur theatre company of Staatsschauspiel Dresden.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/dresden-magazin.com\/en\/culture\/buergerbuehne\/\" \/>\n<meta property=\"og:site_name\" content=\"Dresden Magazin\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/visit.dresden\/\" \/>\n<meta property=\"article:published_time\" content=\"2019-05-02T11:53:12+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2020-10-20T14:41:15+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/i2.wp.com\/dresden-magazin.com\/wp-content\/uploads\/2019\/05\/10942_verwandlung_004_presse_fotosebastianhoppe-e1556548197428-scaled.jpg?fit=2560%2C1721&ssl=1\" \/>\n\t<meta property=\"og:image:width\" content=\"2560\" \/>\n\t<meta property=\"og:image:height\" content=\"1721\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Ariane Breyer\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@visit_dresden\" \/>\n<meta name=\"twitter:site\" content=\"@visit_dresden\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Ariane Breyer\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"5 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/dresden-magazin.com\\\/en\\\/culture\\\/buergerbuehne\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/dresden-magazin.com\\\/en\\\/culture\\\/buergerbuehne\\\/\"},\"author\":{\"name\":\"Ariane Breyer\",\"@id\":\"https:\\\/\\\/dresden-magazin.com\\\/en\\\/#\\\/schema\\\/person\\\/ef722b9ca4dd92a1d0f1dca5fc65d2b5\"},\"headline\":\"They all speak for themselves\",\"datePublished\":\"2019-05-02T11:53:12+00:00\",\"dateModified\":\"2020-10-20T14:41:15+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/dresden-magazin.com\\\/en\\\/culture\\\/buergerbuehne\\\/\"},\"wordCount\":1080,\"image\":{\"@id\":\"https:\\\/\\\/dresden-magazin.com\\\/en\\\/culture\\\/buergerbuehne\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/dresden-magazin.com\\\/wp-content\\\/uploads\\\/2019\\\/05\\\/10942_verwandlung_004_presse_fotosebastianhoppe-e1556548197428-scaled.jpg\",\"articleSection\":[\"Culture\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/dresden-magazin.com\\\/en\\\/culture\\\/buergerbuehne\\\/\",\"url\":\"https:\\\/\\\/dresden-magazin.com\\\/en\\\/culture\\\/buergerbuehne\\\/\",\"name\":\"They all speak for themselves - 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